These are the best Fujifilm lenses with image stabilization, chosen for how their OIS partners with IBIS bodies (X-T4/T5, X-H2/H2S, X-S20) to deliver steadier handheld shots, cleaner low-light images, and smoother video without extra rigging. Stabilization is about confidence and control: multi-stop compensation that tames hand shake, well-damped focus groups that don’t jiggle the frame mid-pull, and weather-ready barrels that keep working when conditions turn. Start with the everyday anchors: XF 16–80mm f/4 R OIS WR is the travel/event champ—sharp, sealed, and stabilized across a super-useful range—while the classic XF 18–55mm f/2.8–4 OIS remains a punchy, compact workhorse that outperforms its “kit” label. Wide shooters get the XF 10–24mm f/4 R OIS WR for rectilinear interiors, landscapes, and glide-cam work; hybrid creators who want one-lens convenience can reach for the XF 18–135mm f/3.5–5.6 R LM OIS WR, whose robust OIS and sealing make it a storm-proof travel piece. For portraits-to-tele, the XF 50–140mm f/2.8 R LM OIS WR brings pro speed with strong stabilization and excellent AF tracking; budget and ultralight reach come via the XF 55–200mm f/3.5–4.8 OIS and the XC 50–230mm OIS II—both stabilized, both better than their size suggests. Wildlife and field sports thrive on the XF 70–300mm f/4–5.6 R LM OIS WR (fast to focus, near-macro close-up, 1.4×/2× TC support), the XF 100–400mm f/4.5–5.6 R LM OIS WR (classic long-range workhorse with confident OIS), and the internal-zoom XF 150–600mm f/5.6–8 R LM OIS WR (balanced on gimbals/tripods with serious reach). Prime shooters aren’t left out: the XF 80mm f/2.8 R LM OIS WR Macro uses Hybrid OIS to correct angular and shift movement at high magnification—critical at 1:1—and the flagship XF 200mm f/2 R LM OIS WR delivers stabilized, shallow-depth tele for indoor sports and stage. Image and motion priorities for the best stabilized Fuji glass include consistent micro-contrast, low lateral CA for clean edges under streetlights, and OIS behavior that plays nicely with IBIS (and optional Digital IS) for video; linear motors on lenses like the 50–140 and 70–300 keep AF quiet and sticky, while WR builds shrug off drizzle and dust. Technique makes stabilization shine: let IBIS+OIS handle static scenes at 1/5–1/15s, but keep shutter higher (1/125–1/250+) for moving subjects; for video, set a “cinema” shutter (≈1/50–1/125) and let OIS smooth micro-jitters, then add a modest post-warp only if needed; use a CPL or 3–6 stop ND to hold motion blur for water, crowds, and car trails without bumping ISO. Practical kits are straightforward—build a stabilized two-zoom shell (10–24 + 16–80 for travel; 18–55 + 50–140 for events), add the 70–300 or 100–400 for wildlife (with a 1.4× when needed), keep the 80mm Macro for detail work, and slot in the 150–600 for birds and airshows. Whether you’re handholding at dusk, walking a venue with b-roll, tracking surfers from the pier, or composing macro at life-size, the best Fujifilm lenses with image stabilization deliver steadier frames, cleaner files, and production-ready confidence across X-mount.